Revisiting Suzhou Gardens, Changing Scenes, Time and Space and Cloisters

Reread Suzhou gardens and change scenery in time and space and corridors.

The classical gardens in China have continued the traditional cultural forms since the Spring and Autumn Period and the Warring States Period. Until today, there are still some people who continue the spirit of classical gardens in a contemporary way, such as Ye Fang, a representative of Suzhou local literati, Guan Huaibin, an artist and Wang Shu, an architect.

Since the Japanese discovered Ji Cheng's garden metallurgy in Ming Dynasty, from Long Xiren's On China Gardens and Oriental Gardens to Zhang Jiaji's History of China Gardens, Chinese and Western attention and research on China classical gardens began to develop systematically.

But there are only a dozen well-preserved famous gardens, the most representative of which are Canglang Pavilion, Lion Forest, Humble Administrator's Garden, Liuyuan, Master of Nets Garden and Yiyuan Garden. Although we can't reproduce the style of the past, we can go back to the imagination of the past from the remaining text descriptions and video materials. Just as Ren Tang recalled his deserted private garden in the southwest of Suzhou: "The moon is in the sky, I lean against the building and look at the smoke trees, look around the dome, look at the mountains and look at the clouds."

Suzhou Canglang Pavilion

The garden was not preserved, but was preserved. Like traditional ancient buildings, the buildings and landscapes in the garden have experienced repeated construction. It is difficult for us to define a garden scene with a point in time. Many documents related to gardens always describe the specific situation of gardens in real time according to their own time fields, which is not Hegel's (or Kant's) exposition closely related to the concept of time and space in western traditional historiography. CraigClunas once said, "No landscape of the Ming Dynasty is preserved in its original form." Canglang Pavilion changed from Song Dynasty to Song Dynasty in Qing Dynasty, and the art garden changed from Yuan Dushan Mountain Forest in 1960s to Wen, and finally to Jiang Shijie's art garden. The name, location and space of the garden are all tasted in the ambiguity of continuous analysis and speculation. As Yuwen Suoan said, "the form of existence becomes the content of existence". The word "repetition" means constantly overlapping their meanings and contents, which is a continuation of time.

Suzhou's urban identity makes classical gardens not only the carrier of literature, but also the witness of hedonism history, just like the tourism boom mentioned above. As a current experience, allusions and cultural contents related to traditional gardens should be integrated with the sensory form of the experiencer, not just a passing narrative. A moon door or a half-closed wooden window in the garden will remind people of Du Fu's sentence: "The window contains a thousand miles of autumn snow in the western hills, and the boat is moored at the gate of Wan Li", or Xie Lingyun's famous sentence: "In the cliff bedroom, the mirror stands in front of the window", which is an experience process that transcends time and space. Historical context will no longer be the protagonist in the text, and the perspective will return to the details and key points that trigger emotions in historical documents and scenes. Try to open the possibility of heritage to the public through experiential writing.

Two. A feeling you can't experience

Or walk along the pool, sing to the rocks, fiddle with the walls of the house, and sing with the sound of spring.

Judging from the historical process, as an audience, we all seem to be strangers in the garden historical drama. We are close at hand, but in such a hurry, trying to acquire as much effective knowledge as possible in a short time. This cultural significance appears in literary works and tour guide words. When we come to the garden site, how they relate to our perception is an important point for us to appreciate and experience the garden at present.

The "objective vision" represented by modern scientific cartography (plan) and photography seems to endow the garden experience with a stable spatial depth and scale. The elasticity preserved in painting and literature (which can also point to the non-perspective effect mentioned by Feng Shida) seems to be diluted, including literature and Suzhou classical gardens with vast images.

The scenery of the garden gallery was painted by Ye Yu.

In Song Dynasty, Lin Zhi described the realm of landscape painting with "feasibility", "promising", "suitable for traveling" and "livable". As a word to express painting, it is also used to express profound visual images of garden space, such as "deep", "gloomy" and "magnificent". Most of what Ji Cheng recorded in Horticulture and Metallurgy is horticultural methods. This technique is not only aimed at a certain garden, but also expresses and reproduces a feeling between mountains and rivers. The relationship between the subject's field of vision and the height of the building in Looking at the Qing Dynasty from afar. The pavilions are hidden, and the pavilions are empty. It describes the difference between the authenticity of space and the authenticity of subject experience. Su Shunqin, a poet in the Song Dynasty, remembers in his pictures and texts about Suzhou gardens that Canglang Pavilion is "green and exquisite" with clouds and mist, and "the autumn is deep in the forest and the sun shines through the bamboo." This is similar to Cui Linglong now. Chen Xu, a Qing Dynasty man, said in Poem on the Feeling of Visiting the Garden: "The kiosk opens the window near the water like a mirror. "Suzhou Hanbizhuang (Liuyuan) is the name, and Qian Daxin is the cloud". Bamboo is cold and bright. "

Bidirectional curvature

The garden was not preserved, but was preserved. Like traditional ancient buildings, the buildings and landscapes in the garden have experienced repeated construction.

055-79000 has a cloud, "profound twists and turns, all in the world, giving birth to a dreamland." What we are talking about here is the winding path in the garden, which not only connects the front and back directions, but also has different scenes during walking. Walking in the winding corridor of Yiyuan Garden, the direction of the body changes constantly with the twists and turns of the corridor, and the left side is almost five steps and one scene. Looking out from the leaking window, you can see the different faces of the same rockery nearby, and you can also see the panoramic footage of the inner courtyard. The landscape gallery is also a gallery with scenery. It enlarges our contact area with the scenery as much as possible, and we can get unexpected scenery inadvertently. There is also a double corridor along the river to the south of Canglang Pavilion, which not only changes zigzag in plane, but also has different ground heights on both sides. Pedestrians on both sides can look at each other for a while through the leaking window in the middle and then disappear. The low window can see the river outside the park, and the high window can look back at the rockery in the park.

There is a poem in My Humble Administrator's Garden Meiting, which describes the scenery outside the window: "At the beginning of the day, the fog is high and the color falls, and the castle peak reflects the ship window." The scenery outside the window will change under different climatic conditions, and the "dynamic calendar" reflects the superposition of different spatial levels. Wu Jiayi, a Qing Dynasty man, wrote in Yuan Ye: "I don't look at the falling flowers in front of the window, but at the sheep blowing on the pool." The author does not directly talk about the relationship between the window and the water surface, but expresses it with the help of the dynamics of plants falling flowers and flying to the moon. Xu Lingjie, a young artist, recalled and wrote down an experience in the west of Liuyuan's "Living Slope" and showed it in the form of painting.

The word "exploring the secluded place" is engraved on the door of a begonia on the west side of the Lion Nine Lion Peak Courtyard.

"101on the morning of October 23rd, the weather was fine. At eight o'clock in the morning, the sunshine changed from mild to strong, which was difficult to detect. Between the light and shadow of walking rockery, vision can feel the change of light and shade better than touch, cold and hot feeling and smell. -In the sun, it's always uncomfortable to have dark parts in the field of vision. Walking under plants, the dark part of the projection is not always in a stable state, and the rays of sunlight pass through the irregular-shaped shelter, stimulating relaxed eyes. From the depths of dense plants to the east of the sun, the sunshine gradually changes from scattered to large and clean.

"On the way back, the distance between the distant walls weakened, and I even mistakenly thought that this was the edge of the rockery. When I found the real last road behind, the hidden road lengthened the distance between walls. What made me make this misjudgment? Is it bright light? There is a tree.

"In the big green maple, the pattern formed by light and shadow on the ground blurs the vertical and horizontal relationship, and you can't tell whether to turn left or right. There are obstacles in front of the left and right, and irregular light weakens the turning relationship between them, that is, the junction. The strong light blurs the boundary and emphasizes the shape of the leaves above. The shadow of the plants on the west side creates a dark place, which strengthens the left-right symmetry and affects the judgment. "

This vivid experience reminds people of the feeling of killing dragons in Wuxi Jichang Garden. "When the mountain has no end, it means there is no way out. Suddenly, the scenery is solemn. " Liu Shu, a A Qing dynasty, wrote when he stayed in the garden: "The stone ridge is rugged and can rotate, and it is uneven." The participation of the environment enriches the garden experience, and some daily judgments become elusive. This just shows the diverse patterns of gardens and reminds visitors that they need keen observation.

Wuxi jichangyuan

Analogy between various materials, such as images, poems, photos, places, and even memories, constantly enriches one's "ideological accumulation", just as He Jiang said in the book Visiting a Cold Garden (Stay in the Garden) in the Qing Dynasty: "You can only paint when you travel around the mountains and see the natural scenery. Put down the pen, cut it open and let it go. Looking at the ring from far and near and enjoying the garden is like exercising your imagination. This seems to mean that the landscape cannot depend on maps or Descartes' spatial system. This kind of local writing also seems to point to the concept of "touringandmapping" put forward by MicheldeCerteau. The concept of visiting a garden lies in the similarities and differences between words and reality. As implied in the essay on painting, the writing of the garden itself is open, and we can refer to our current experience. In addition to the experience implied by ancient poems, the new feelings we get on the spot will go beyond the existing objective, innuendo or technical gardens.